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Test shoot #KaharKaplaHighCouncil Kami pre lock visual style filem ni before start shoot. This video ialah hasil dari test awal. Digunakan utk test makeup & sfx, lighting, grip equipment, color palette, texture of the film etc. So bila shoot, kami npk dah final look filem ni.
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The detective is in. All episodes of #CrossOnPrime are NOW STREAMING on @PrimeVideo.
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ohhh tapi ni nampak more green dari dekat movie🤔 tapi padu!
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Xpandai bab ni. Cuma dalam kepala main lagu Seven Collar Tshirt - Faith waktu tengok video ni haha
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Hurt 🔥
![Coulthart: "I am...told by White House sources that President Trump has personally authorized [the shoot down of UFOs]." Knapp: "I take with a grain of salt the reports that the President has authorized the shoot down of UFOs. That doesn't make sense." (Regarding those reports (from Ross Coulthart), I said this on August 9th, after he said it.) Murgia: "A year ago, Ross told us he thought certain senators were read into the crash retrieval program and he'd start naming them. Still waiting. "Now this? 🤔 "Something seems off." This is what Ross said: Coulthart on 8/9/2026: "The Department of War has quite literally taken on the running of its own covert operation to intercept these mystery objects. And I'm told they have recently downed objects, craft, both in the U.S. and across the border near Juarez in Mexico. "I am also told by White House sources that President Trump has personally authorized this operation, which perhaps explains why no full admission has yet been made to the public about the full extent of what the government really knows. "There is a full-on effort underway by the administration to recover suspected non-human intelligence exotic technology in a program totally separate from the so-called Legacy program. This is an attempt by the President to circumvent the legacy program. "It's been run out of the White House by the President's most senior intelligence advisers. President Trump has tasked the Secretary of War, Pete Hegseth, to find out what these objects are and to capture them. The Office of the Director of National Intelligence - ODNI - is also involved. "Sources have told me that one of the directed-energy-weapon systems used at White Sands, in an attempt to shoot down these mystery craft, is what's called high pulse microwave. It shuts down an aircraft by emitting an intense burst of electromagnetic energy that travels at the speed of light, penetrates the aircraft and fries its electronic systems. "My sources tell me that the craft objects, UAPs, whatever you wanna call them, are being targeted over White Sands, and they definitely show anomalous properties conforming to the five observables that define UAPs." Regarding psionics and the alleged electronic dog whistle being used at Sierra Blanca, Ross added this... Coulthart: "Defense sources tell me that their observers were watching on during Skywatcher's Sierra Blanca operation, and they made a major discovery during Skywatcher's psionic summoning and dog-whistle operations during 2025, including in that last July 2025 test, I can't name my sources, but I'm very sure they're rock solid." ~From Today's Weaponized~ George Knapp: "I take with a grain of salt the reports that the President has authorized the shoot down of UFOs. That doesn't make sense. I don't get that sense from the conversations he had with Robert Bigelow back in February that that kind of order would ever be issued or would ever make sense to any country. "I am intrigued by the reports of luring operations, because as you and I know, there have been operations like that in years past that did produce pretty dramatic results, in terms of something following nuclear assets. But drawing them in and shooting them down, as some people have said, or bringing them down with the power of your mind, I take that with a grain of salt. "I do give credence to Rep. Eric Burlison - and you've been in closer contact with him than I - that says there is something to those reports. At least part of that, right?" Jeremy Kenyon Lockyer Corbell: "Yeah, I mean, look, people have deduced that December of 2025, that White Sands was the location. They kind of deduced that, that there was a massive incursion. There's two sets of documents, one by FBI, one by ODNI, that's in the tranche releases. And that is the same event, that's what people are talking about. "And they called it luring because it was described to me that they had set up all of the same situations that typically seemed to provoke a response from UAP, and would stimulate like, an incursion. And sure enough, it happened. Now, I have not heard, and I do not believe it was some psionic thing. I think that they were moving stuff. That's to the best of my knowledge, they were moving stuff around. This is what was said to me, and I read between the lines. "But at no point was there anything said to me for all the sources and everything that I've heard about it, about any psionic assets or any shoot downs or anything like that. I'd be highly surprised. I think what they did was, they started moving stuff around - that you and I know, notoriously, stimulates response." ~ (When I interviewed Lue Elizondo in March of 2022, we had this exchange...) Murgia: "Baiting and luring UFOs. You mentioned it on 𝗖𝗥𝗜𝗦𝗧𝗜𝗡𝗔 𝗚𝗢𝗠𝗘𝗭' show...how you successfully did that in AATIP. "Somebody I know, a source, said, 'The way we attract and coax UAP has to do with nuclear power; nuclear weapon sites; deployed weapons; weapons or nuclear fuel being moved around; weapons being manufactured; nuclear fuel being manufactured; and manufacturing sites...and that attracts them.' To me, that sounds like AI. It seems like it's reacting to something automatically." Lue: "Your friend seems to be very well informed." ~ Corbell: "You used to chase those armored nuclear vehicles in Las Vegas, and I got a call from one of the drivers who said, 'Oh, when George Knapp was going behind us and did that news report, it completely changed our protocols of what we had to do. It rewrote the manual.' "But you had heard about these trucks and about how moving them, these nukes, would sometimes create or stimulate a UAP response. This individual that called me to complain to me about you, affirmed that to me." Knapp: [Laughs] Corbell: "So, you know, it's like one of those things, man. So if that's what they were doing and they did get a response, I know a couple people in the political realm who have specifically asked to be invited to the next time that they set up those those protocols. Again, I'd heard nothing of psionics or anything like that. I think they were moving nuclear things, and I think that that's what stimulated the response. "It'd be amazing to see if they get a Round 2 on that, and again, get the same response that they can document it, film it. Think about all the footage, George, that we're not seeing from those two sets of documents about that White Sands - is what people think - incursion event. There was so much footage, so much footage taken from so many different military assets. We're seeing just the just the top of it, you know?"](https://image.24vids.com/tw-2095257834451882234/amplify_video_thumb/2095243304355139584/img/pCH3UyPFOKaGPiKu.jpg)
![Most of my video work is heavily rely on character sheets. Originally my character sheets were pretty simple, just 3 views made in Nano Banana. But I wanted something neater that actually feels like a proper production character sheet. So here's how I do it now in LovartAI Step 1: Create the base image of your character in Nano Banana. It can be anything. I just describe mine conversationally, something like "create a Thai high school student." That's enough to get started. Step 2: Once you have the base image, feed it into the template below. I run this in GPT o2 Image because the detail output is really good. And that's genuinely it. The template below is fully adjustable. Make it yours. And please note that everything happens conversationally with LovartAI which the best part 😉 + + + Prompt Example: [STYLE]: cinematic realism, Wong Kar-Wai atmosphere, high contrast, film grain, warm humid haze, 35mm anamorphic feel [LAYOUT]: single unified MASTER CHARACTER REFERENCE SHEET, two-page-spread feel, neutral off-white background, sections clearly separated with bold headers [CHARACTER]: - Name: Mira - Alias / role: The Woman - Age descriptor: young adult - Build: slender, natural proportions - Face: warm brown skin, natural beauty, no makeup, subtle imperfections, sweat sheen, half-lidded eyes, slightly parted lips - Hair: messy ponytail, tortoiseshell claw clip - Wardrobe: faded sage-green T-shirt, clinging, damp at collarbone, casual shorts - Props: none - Distinguishing features: sweat on temples and neck, natural skin texture - Personality (drives micro-expressions): intensely seductive, confident, teasing, deliberate [LEFT PAGE]: [SECTION 1 — TITLE + INFO BLOCK, top-left]: large character name header + 6 short stat lines (Name / Alias / Height / Build / Role / Archetype). Sans-serif, each line under 20 words. [SECTION 2 — MAIN IDENTITY + SCALE, dominant left column]: full-body front view, neutral pose, even lighting. THIS PANEL DOMINATES. [SECTION 3 — VIEWS, top-right]: 3/4 angle and full side view, two figures side by side, identical outfit/lighting [SECTION 4 — WARDROBE & ACCESSORIES, mid-left]: each item on flat surface with short label [SECTION 5 — COLOR PALETTE, bottom-left]: 6 horizontal swatches — skin / hair / shirt / shorts / clip / accent — each with short label [RIGHT PAGE]: [SECTION 6 — EXPRESSION PROGRESSION, top row]: 8 head shots — neutral / warm smile / laugh / sad / angry / surprised / determined / vulnerable. Single-word emotion tags. [SECTION 7 — MICRO EXPRESSIONS, second row]: 5 head shots showing subtle muscle changes — slight eye tension / jaw clench / subtle brow tightening / lower eyelid tension / lip compression [SECTION 8 — HEAD DETAIL, third row left]: one large close-up, chest up. Most detailed shot. [SECTION 9 — POSTURE VARIATIONS, third row right]: 4 small full-body in characteristic postures — standing relaxed, seated alert, mid-action, walking with intent [SECTION 10 — NOTES PANEL, fourth row left]: short text block (max 3 lines, each under 20 words) describing behavior [SECTION 11 — HAND GESTURES, fourth row center]: 3 close-ups of hands in characteristic poses [SECTION 12 — SILHOUETTE GUIDE, fourth row right]: 2 black silhouettes side by side — NEUTRAL and ACTION, pure black on white [CONSTRAINTS]: same character, face, outfit pieces, proportions across all sections. MAIN IDENTITY + SCALE must dominate. Final image should look like a premium production visual bible matching the selected style. [CONSTRAINTS]: no watermark, no extra unspecified text, natural realistic body proportions, identical body shape across all panels.](https://image.24vids.com/tw-2062711638575517820/amplify_video_thumb/2062707577264500736/img/Yqv7pBFWBtgVapOb.jpg)
![I made an ad for GPT Image 2.5, full prompt below. It's yours now. Put your own character in @[image1], your own poster in @[image2], change the city, change what she turns into. Quote this with your version, I want to see what you all make of it. Seedance 2.5 on Higgsfield AI 🧩. Seedance 2.5 Prompt: [GLOBAL] 30-second commercial. Photoreal live-action cinema texture, digital cinema camera, 35mm and 24mm lenses, shallow depth of field, real overcast rain-light, low-contrast cool grade, light film grain. 16:9. The spine of the film is one continuous over-the-shoulder tracking shot; all transitions are hidden inside motion blur and the crystallization effect. [CHARACTER ANCHOR] @[image1] = the protagonist, a Japanese woman in her early twenties with a Tokyo street-fashion look: bleached pale-blonde wolf-cut shag with dark roots and a single mint-green streak in the under-layer; clean Japanese makeup — thin brows, pearlescent eyeshadow, nude lip; an oversized charcoal coach jacket with an original graphic print on the back, a long white tee underneath, baggy black cargo pants, chunky platform sneakers, layered silver jewelry, wired over-ear headphones around her neck, a small crossbody bag. Her face, hair and wardrobe stay 100% identical from 0s to 28s — never altered, never touched by any "generation" effect. She is the only constant in the film until the final beat. Emotional arc: oblivious → noticing → confused → stunned → awestruck → transformed. [ARTWORK REFERENCE] @[image2] = the billboard artwork reference. Used ONLY for the flat graphic displayed on the bus-shelter digital billboard at 11–15s — including its complete typographic lockup ("Higgsfield × OpenAI" in small caps, "GPT IMAGE" in heavy white, the lime-green gradient "2.5", and the wide-tracked "SUNBURST" beneath), along with its layout, palette and composition. @[image2] must appear as a complete flat advertising image inside the billboard screen, carrying correct perspective, screen reflection and rain refraction across the glass surface. The woman pictured in @[image2] must NEVER be used for the protagonist's design, must NEVER leave the billboard screen, and must NEVER appear in the physical space of the scene. @[image1] and the woman in @[image2] are two entirely different people — never conflate them, never let one influence the other. [CORE VISUAL MOTIF — THE ONLY TRANSFORMATION LANGUAGE IN THE FILM] Anything being "regenerated" must follow the exact same three-stage process: ① the original object disintegrates from its edges into a cloud of tens of thousands of small translucent white crystalline beads — like bubble-film or shattered glass pearls, with real volume, specular highlights and real weight; ② the bead cloud hangs briefly and rapidly rearranges; ③ the new form grows outward from inside the cloud, the final layer of beads absorbing into its surface and vanishing. Do NOT use flash cuts, dissolves, particle-dispersal effects, or digital-glitch styling for any transformation. [SETTING] A Midtown Manhattan intersection after rain. Wet asphalt reflections, crosswalk stripes, yellow cabs, dense glass curtain walls and older stone buildings, neon and storefront signage, a fire hydrant, a newsstand, a bus-shelter digital billboard. Overcast diffused light throughout, no direct sun. 0–3s: Over-the-shoulder medium shot, following behind @[image1]. Her back is to camera as she stands on the crosswalk. To frame right, a 1970s green sedan in motion crystallizes entirely and reassembles as a black muscle car; a few frames later it crystallizes again and reassembles as a white wheel-less hover car. She hasn't registered it yet. 3–7s: The camera arcs around to her side. She starts looking around, the ends of her wolf cut swinging with the head turn. A businessman with a briefcase crystallizes mid-stride — the human-shaped bead cloud holds the walking pose for two full steps — and reassembles as a bare-chested barbarian warrior with feathered ornaments, continuing the same stride. Two or three more pedestrians crystallize in the background simultaneously, without pulling focus from her. 7–11s: Handheld tracking accelerates. More and more people on the street are replaced: a purple-skinned alien warrior woman, white-armored robot troopers, an original gold-suited superhero character (all original designs — no real-world recognizable characters, logos or trademarks). She walks faster, keeps turning to look back, her breathing quickening, one hand instinctively gripping her crossbody strap. The replacement frequency keeps rising, but the street's spatial relationships, lighting and wet reflections remain continuous throughout — no jump cuts. 11–15s: She stops in front of the bus shelter. The digital billboard inside cycles rapidly: a photoreal movie poster → a hand-painted concept illustration → a fashion editorial — each refresh executed with the same crystalline bead reassembly. It finally settles on the complete @[image2] artwork filling the entire screen, its typography and palette exactly as in @[image2]. She raises a hand and points at the screen, mouth open, unable to speak. 15–18s: The camera tilts down to her feet. The sidewalk paving crystallizes outward from where she stands in a perfect circle, white beads spreading three meters along the joints between slabs, the manhole cover and the standing water turning crystalline with it. She looks down. The ground gives out beneath her platform sneakers. 18–21s: Wide 24mm. The ground collapses and she falls straight down. The camera falls with her looking up — the entire city contracts above her into a shrinking square opening, the buildings on either side peeling away, tumbling and receding upward like building blocks, the sky turning to deep blue-black void. She throws her arms out, her hair, jacket hem and bag strap lifted by the updraft. 21–24s: During the fall the visual style jumps repeatedly, each jump bridged by one full-frame sweep of crystalline beads. In order: ① rich 1980s film stock — high saturation, heavy halation, heavy grain; ② black-and-white halftone manga panel — the character rendered in ink linework and dot screens against dense radial speed lines; ③ a neon purple-blue digital vortex with long light streaks stretching backward at speed; ④ near-total darkness with extreme motion blur. Her facial structure, hair and wardrobe must remain recognizably the same person in every one of these styles. 24–27s: She lands flat on her back on a smooth white floor. A wide lens pushes in slowly and tilts up to reveal the environment: an infinitely extending pure-white showroom/hangar with a gridded softbox ceiling. Hundreds of black circular pedestals cover the floor, each holding a character statue or a parked vehicle — original-design warriors, mechs, robots, sci-fi troopers, plus large military aircraft and helicopters. A small line of floating white label text sits in front of each pedestal: "FANTASY CHARACTER", "VEHICLE", "MECH" — set at a small point size, present purely as environmental information. 27–28s: She sits up and pushes herself to her feet, turning slowly to take in the hall, eyes widening in awe. The camera settles into a full-body medium-wide, centered, the statue array receding out of focus behind her. 28–30s [THE FINAL TRANSFORMATION]: The instant she stands fully upright, the crystalline beads rise from the floor around her feet and sweep up her body in one continuous wave — and for the first time in the film, SHE is the thing being regenerated. Her streetwear disintegrates into the bead cloud and a magical-girl battle uniform grows outward in its place, following the exact same three-stage motif, generating in a readable order from the torso outward: a white high-collar fitted bodice → a mint-green sailor collar with three silver stripes → a deep mint pleated skirt with silver trim, its pleats opening one by one → long white gloves to the upper arm with mint piping → white knee-high boots with a mid heel and mint cuffs → layered silver jewelry reforming as a silver star brooch at her chest → a large mint-green bow at her back with long ribbons falling to the backs of her knees → a fine silver tiara condensing across her forehead. Her face, hairstyle, hair color, the mint streak and the headphones around her neck remain completely unchanged — only the clothing is regenerated. The last beads absorb into the fabric. She looks down at her own hands, then slowly raises her head, the ribbons still settling behind her, and looks straight past camera with a small, dawning smile. The film cuts on that frame. No end card, no title, no tagline, no subtitle of any kind. [SOUND] Rain and wet-road traffic, urban ambient bed; high-frequency glass/ice shatter-and-rearrange sounds on every crystallization; a short bright locking tone as each reassembly completes; electronic refresh tones from the billboard; low-frequency collapse as the ground gives way; wind through the fall, with a distinct timbre shift for each of the four style jumps (film hiss / paper-and-ink texture / synth sweep / silence); one muffled impact on landing; near-total quiet inside the hall with only faint HVAC room tone; then, over the final transformation, an ascending shimmer of silk and crystal, each garment piece seating with a crisp click, the bow tying with a single sweep of ribbon, and one clear bell tone as the tiara locks in. One escalating electronic music bed ties it together, landing its final hit on her raised head. [HARD RULES] @[image1]'s face, hairstyle, hair color and headphones are absolutely unchanged across all 30 seconds. Her wardrobe is unchanged from 0s to 28s and may be regenerated ONLY in the 28–30s final beat — the transformation affects clothing only and must never alter her face, hair or identity. All other replacements happen only to the people, vehicles, ground and environment around her. The film may use only the single "crystalline bead disintegration → rearrangement → growth" transformation language, including for the final costume change; no other transition effect may be mixed in. From 0–18s the film must hold the logic of one spatially continuous tracking shot — the street's architecture, lighting and wet reflections must never jump. Every character and vehicle in the hall must be an original design; no real-world recognizable characters, brand marks, trademarks or identifiable film properties may appear, and the final magical-girl uniform must be an original design, not any existing anime character's costume. The only brand copy permitted anywhere in the film is the @[image2] artwork on the billboard screen at 11–15s, existing solely as a flat image inside that screen and never repeated elsewhere. No end card, no title card, no subtitles, no watermark, no overlaid text anywhere in the film. Avoid: cartoon rendering, game-CG feel, plastic materials, full-frame bloom, digital-glitch transitions, weightless floating, incorrect finger structure, garbled text, revealing or suggestive posing or camera angles.](https://image.24vids.com/tw-2098420840073236536/amplify_video_thumb/2098419846346113033/img/ntZLO-Woz5NhUKJy.jpg)
